My system is not decent

Chapter 1194 After thousands of years of wind and frost, simple and honest as before
Of course, Ding kiln porcelain bowls with large diameters are very rare even in the production process of Ding kiln.

Let’s talk about the previous Northern Song Ding kiln scratched octagonal bowl, its caliber is only 22.2 centimeters.

Not to mention the craftsmanship, the fetal quality is delicate, the eight-petal pattern is plump and dignified, the arc wall is deep, the wide mouth is inclined inward, and the lower abdomen is obliquely closed.

The edges and corners are subtle, and the body undulates along the edge.

The inside of the bowl is engraved with blooming peonies, the knife is neat and freehand, and the grate draws tendons and veins, which is elegant and subtle.

The lower leaves are decorated with arched tricks, as if swaying in the wind.

The lines are smooth, with a few strokes, lively and interesting.

The inner wall has eight petals, all of which are engraved with lotus patterns on broken branches. The mood is slightly different, the flowers are euphemistic, the lotus leaves are decent, simple and elegant.

The flat bottom is regular and solid, with unintentional tire repairs skillfully leaving marks, just like a crescent moon hanging in the sky.

The whole body is glazed with a single mouth, and the old copper buckle is inlaid.

The surface of the vessel is bright and soft, and the color is white and pleasing to the eye. The place where it gathers is like tears and the color is slightly darker. After thousands of years of wind and frost, it is as simple as ever.

The glaze surface of this bowl is soft and smooth, and the color is tooth white and pleasing to the eye. The place where it gathers is like tears and the color is slightly darker. After thousands of years of wind and frost, it is as simple as ever.

There are very few comparable ones, and private collections are even more unique.

As early as 1949, this bowl has been in the elegant collection of the famous collectors Avery Clark and his wife, and it has been seen in many important exhibitions.

Since it appeared in Sotheby's London in 1971, it has not been exhibited publicly and has disappeared, and it is especially rare to see it now.

Therefore, this Ding kiln's top octagonal flower mouth bowl is of high grade and high artistic value, and it must not be simply classified as a plate bowl.

In addition to these high-quality goods, bowls, plates, and other porcelains produced by Ding Kiln also have many varieties.

There are many types of bottles, such as straight-necked bottles, clean bottles, and plum bottles.

Pillows include white-glazed baby pillows and flower-picked waist-shaped round pillows.

There is only one authentic piece of the former in the Palace Museum, and there are more than ten pieces, all of which were imitations in the Ming Dynasty.

Musical instruments include white-glazed and black-glazed painted waist drums. The former was unearthed in the early years and has been scattered abroad.

Pots are relatively rare among handed down items, and Chen Wenzhe has been eyeing this one.

His first work was large-scale pot making. Now that pots in Ding kiln are very rare, he will definitely make a batch.

However, even if it is production, he must not only produce one kind.

He will definitely design and make a few pieces of all glazed pots.

Especially the single-color glaze teapots cannot be let go, because some famous single-color glaze treasure teapots in history are too famous.

Of course, this will be produced slowly later, he is not in a hurry.

Now that we are going to make Ding kiln wares, we must make the classic Ding kiln wares.

However, even if it is an imitation of Ding kiln, it cannot start with the more complicated baby pillow.

At the very least, he had to imitate a few dishes and try to burn them.

After the firing is successful, make more complicated bottles, porcelain pillows, and even musical instruments, such as waist drums and French conch!
Ding kiln porcelain, in addition to the shape of the vessel, is complex in decoration, and the most popular thing is the glaze.

Only when the tire glaze is well done, can various crafts be piled on it.

Let’s talk about the body glaze first. Most of the Ding kiln porcelain has a white body, especially the products of the Song Dynasty, almost all of which are white porcelain bodies, and the body quality is very hard.

This is because the raw material contains a relatively high amount of alumina.

Not only that, but many kiln furniture of Ding kiln are also white porcelain bodies, and the raw materials used are the same as those used for making porcelain.

In the kiln site of Ding Kiln, there are piles of white flowers all over the place.

There is also white tire kiln furniture, which also occupies a considerable proportion.

The excessive use of this raw material is also one of the important reasons for the decline of the Ding kiln.

The glaze of Ding kiln porcelain is mostly white glaze, and there are also a small amount of black glaze, sauce glaze, brown glaze, green glaze and other varieties.

The color of the white glaze in the Song Dynasty is yellowish. As I said before, this is an important basis for distinguishing the white porcelain of the Ding Kiln in the Tang and Song Dynasties.

Then there are other glaze colors, except for white glaze, soy sauce glaze, brown glaze, black glaze, green glaze and other varieties, which account for a small proportion in Ding kiln porcelain, and complete handed down products are rare, so they are of high collection value.

Ming Cao Zhao's "Gegu Yaolun" said: "There is purple ding, the color is purple. Black ding, the color is as black as lacquer. The soil is white, and its price is higher than white ding."

It can be seen that its collection value in the Ming Dynasty was already higher than that of Ding Kiln white porcelain.

In fact, these so-called black ding, purple ding, and sauce glaze should all be similar.

For example, the so-called Ziding actually belongs to sauce glaze.

Lacquerware was popular in the Song Dynasty, and the caramel-colored glaze was regarded as a product of imitation caramel-colored lacquerware.

The so-called black set refers to black glaze.

As mentioned before, the black glaze of Ding kiln must be extraordinary. Its color is uniform, the light can be seen, and it also has the texture of lacquer.

There is no documented record of Lvding, and there is no complete handed down product, but the Palace Museum has collected two pieces of Lvding porcelain from the site of Ding Kiln, one of which has a dragon pattern.

The green glaze on it should be green, uniform and green in color, thus confirming that there were green Ding products in Ding kiln.

Ding kiln also has brown glaze products, which are nearly golden in color.

In 1982, at the kiln site of Ding Kiln, someone once collected a fragment of a printed brown-glazed plate, which is golden in color and quite gratifying.

The color glaze varieties of Ding kiln all have a common feature, all of which are white tires.

That is to say, it is exactly the same as the body material used in white porcelain, but the outer cover color glaze is different.

This is an important symbol that distinguishes Ziding, Heiding, and Lvding from other kilns.

So Chen Wenzhe saved a lot of effort here, as long as he collects qualified natural Ding kiln minerals, he can produce qualified white tires.

After that, according to the different glaze materials, all glaze colors including white porcelain and black porcelain can be fired directly.

The key is the natural minerals. After all, an important reason for the decline of the Ding Kiln is that all the natural minerals in Dingzhou have been exhausted.

Of course, with modern technology, it is definitely not difficult to find more natural ore raw materials.

This is not comparable to ancient science and technology, as long as it can be determined what minerals were used by the ancients to produce Ding kiln porcelain.

Now the local natural mineral materials of Ding Kiln have been developed again.

Because famous kilns like Ding Kiln, in modern times, the country will naturally not ignore them.

Therefore, from the 80s of the twentieth century, the state organized special forces to study the raw materials of Ding kiln tire glaze.

In the early research, the surface specimens were collected, or the Ding kiln porcelain in the museum was used as specimens to analyze the raw material composition of the Ding kiln wares.

By analogy, perform chronological order.

Then through chemical or physical testing, a large amount of data is obtained.

Finally, by comparing and analyzing the raw materials left over from the Ding Kiln site, the ancient formula of the fetal glaze can be obtained.

The most important thing is to determine the raw materials such as fetal soil, porcelain stone, kaolin and so on used in ancient essences.

It can be said that Chen Wenzhe is already standing on top of countless predecessors in making Ding kiln porcelain, which allows him to save a lot of time.

The modern Ding kiln team has confirmed many raw materials needed for the production of ancient Ding kiln wares.

Such as kaolin, glaze ash, glaze siliceous rock and so on.

As long as there are these materials, Chen Wenzhe can completely restore the craftsmanship of the ancient Ding kiln, and even make porcelain that is exactly the same as the ancient Ding kiln.

(End of this chapter)